Trumpet Boogie by Ray Anthony. Arranged by John Ferguson. For big band. Swing. Difficult. Full score and set of parts. Published by Lush Life (JL.LL-1169).
Ray Anthony used this chart in much the same way as Harry James used Trumpet Blues - as a rousing sectional feature. It storms from start to end, and plays just as well at a slightly reduced tempo too. The arrangement also features improvised solos from Tenor and Trumpet, a cameo Piano solo in the intro, and some thundering sectional interplay. A great transcription from John Ferguson. Saxes are scored for a regular section and there are no sax doubles. The audio picks up into letter A. Ranges: Trumpets 1-4: Eb6, Db6, Db6, Bb5 Trombones 1-4: Ab4, Ab4, Ab4, Ab4.

Trumpet Blues And Cantabile by Harry James. Arranged by Myles Collins. For big band. Swing. Difficult. Full score and set of parts. Published by Lush Life (JL.LL-1063).
A rip-snorting swing chart from the Harry James book. Trumpet Blues opens with a short band fanfare in half time, and then breaks into a driving swing boogie. The middle half-time Cantabile provides the contrast, but breaks back into swing boogie for the last choruses. A feature for your trumpet section, but be warned that they will need a few minutes to recover afterwards. You will need a good Trumpet section to play this arrangement. It is in the original Key of Bb, and modulates to D for the end choruses. A genuine crowd pleaser. Swing @ 180 - 210 b.p.m. Ranges: Trumpets 1-4 E6, D#6, B5, G#5 Trombones 1-4 Bb4, G4, F#4, F#.

They Didn't Believe Me by Charlie Parker. Arranged by Jimmy Carroll. For small jazz ensemble with strings [alternate horn parts included]. Swing. Medium. Full score and set of parts. Published by Jazz Lines Publications (JL.JLP-8044).
We're all familiar with the famous Charlie Parker with Strings recordings that were made in 1949 and the early 1950s. Parker recorded these in the studio and did many live concerts. At first the reception from the critics wasn't so great. But, over time there recordings have been cherished by jazz fans all over the world. In fact, Parker's recording of Just Friends with strings became his best-selling single. Well, it may surprise you to know that there were several arrangements that were rehearsed for Parker's 1949 'With Strings' session that were either not recorded or were scrapped. This chart of They Didn't Believe Me was arranged by Jimmy Carroll for this date but was not recorded. We don't know the specific reason it wasn't recorded. But, due to markups on the original manuscript score and parts we do know that it was heavily rehearsed.

Rocker [AKA Rock Salt] by Miles Davis. Arranged by Gerry Mulligan. For jazz ensemble - nonet [6 horns with rhythm]. Swing. Medium. Full score and set of parts. Published by Jazz Lines Publications (JL.JLP-8050).
Gil Evans set up shop in his small New York apartment above a Chinese laundry acting as an advisor to a group of jazz musicians. Evans was already well-known as an adventurous arranger who took inspiration from classical composers of the day. Miles Davis was trying to separate himself from the bebop club scene, of which he was a part in Charlie Parker's groups. In 1947 Davis and Evans organized a group of musicians into a working nonet and began to rehearse some new material. The musicians that were in the group included: Miles Davis (trumpet), Mike Zwerin (trombone), Bill Barber (tuba), Junior Collins (French horn), Gerry Mulligan (baritone saxophone), Lee Konitz (alto saxophone), John Lewis (piano), Al McKibbon (bass), and Max Roach (drums). The emphasis of this group was the arrangements and the re-definition of the current jazz scene. They invented what came to be known as the 'cool school.'.

Night Train by Count Basie. Arranged by Roy Philippe. For jazz big band (2 alto saxophones, 2 tenor saxophones, baritone saxophone, 4 trumpets, 4 trombones, guitar, piano, bass, drums). Ranges: Trumpet 1 to F6, Trombone 1 to Ab4. Swing. Medium. Score and parts. Published by Jazz Lines Publications (JL.JLP-8898).
Roy Phillippe composed this arrangement of Night Train for the Count Basie band to feature tenor saxophone legend Jimmy Forrest. The arrangement was filmed live for the Last of the Blue Devils movie. This chart is not difficult to play. Here is a great opportunity to feature your tenor sax player on a instantly recognizable song.

Mox-Nix by The Jazztet. Arranged by Art Farmer. For jazz combo (3 horns plus rhythm section). Swing. Medium. Score and parts. Published by Jazz Lines Publications (JL.JLP-8953).
Art Farmer originally wrote this tune for his United Artists 1958 recording date released as 'Modern Art.' He later created this three-horn arrangement for The Jazztet and recorded it on the 1960 'Meet the Jazztet' album (Argo). The chart features trumpet, tenor saxophone, and trombone with piano, bass, and drums.

Move by Miles Davis. Arranged by John Lewis. For jazz ensemble - nonet [6 horns with rhythm section]. Swing. Medium Difficult. Full score and set of parts. Published by Jazz Lines Publications (JL.JLP-8054).
Gil Evans set up shop in his small New York apartment above a Chinese laundry acting as an advisor to a group of jazz musicians. Evans was already well-known as an adventurous arranger who took inspiration from classical composers of the day. Miles Davis was trying to separate himself from the bebop club scene, of which he was a part in Charlie Parker's groups. In 1947 Davis and Evans organized a group of musicians into a working nonet and began to rehearse some new material. The musicians that were in the group included: Miles Davis (trumpet), Mike Zwerin (trombone), Bill Barber (tuba), Junior Collins (French horn), Gerry Mulligan (baritone saxophone), Lee Konitz (alto saxophone), John Lewis (piano), Al McKibbon (bass), and Max Roach (drums). The emphasis of this group was the arrangements and the re-definition of the current jazz scene. They invented what came to be known as the 'cool school.'.

Late Show by The Jazz Messengers. Arranged by Hank Mobley. For jazz combo (2 horns plus rhythm section). Swing. Medium. Score and parts. Published by Jazz Lines Publications (JL.JLP-8950).
Here is Hank Mobley's arrangement exactly as recorded by The Jazz Messengers on the self-titled record released by Columbia. This is when the group was still a cooperative band. All later Messenger units became Art Blakey and the Jazz Messengers.

Just Friends [Supersax] by Supersax. Arranged by Med Flory. For jazz ensemble - dectet [7 horns with rhythm section]. Swing. Advanced. Full score and set of parts. Published by Jazz Lines Publications (JL.JLP-8070).
Here is Med Flory's arrangement of 'Just Friends' as recorded by Supersax on 'Supersax Plays Bird,' (from 1971) and later recorded live in Japan in 1975 on 'Japanese Tour Vol. 1.' For the original Capitol Records recording in 1971 there was the addition of trombone (Carl Fontana) and trumpet (Conte Candoli) parts. For the live recording those parts were abandoned and they featured trombone improvisation instead (by Frank Rosolino). We've included the original parts though they are optional - the arrangement plays fine with improvisation instead. All the interludes and solos are cued on the piano part so that the arrangement may be played without brass. Plus, we have included chord changes on the brass parts so that they can improv instead of play the written parts.

Joost At The Roost by Miles Davis. Arranged by Gerry Mulligan. For jazz ensemble - nonet [6 horns with rhythm section]. Swing. Medium Difficult. Full score and set of parts. Published by Jazz Lines Publications (JL.JLP-8060).
Gil Evans set up shop in his small New York apartment above a Chinese laundry acting as an advisor to a group of jazz musicians. Evans was already well-known as an adventurous arranger who took inspiration from classical composers of the day. Miles Davis was trying to separate himself from the bebop club scene, of which he was a part in Charlie Parker's groups. In 1947 Davis and Evans organized a group of musicians into a working nonet and began to rehearse some new material. The musicians that were in the group included: Miles Davis (trumpet), Mike Zwerin (trombone), Bill Barber (tuba), Junior Collins (French horn), Gerry Mulligan (baritone saxophone), Lee Konitz (alto saxophone), John Lewis (piano), Al McKibbon (bass), and Max Roach (drums). The emphasis of this group was the arrangements and the re-definition of the current jazz scene. They invented what came to be known as the 'cool school.'.

In the Land of Oo-bla-dee by Dizzy Gillespie Big Band. Edited by Jeffrey Sultanof. Arranged by Mary Lou Williams. For jazz big band (voice, 2 alto saxophones, 2 tenor saxophones, baritone saxophone, 5 trumpets (tpt 5 featured solo), 3 trombones, piano, bass, drums). Ranges: Trumpet 1 to C6, Trombone 1 to Ab4, Voice: Bb3 to Dd5, key of Eb. Swing. Difficult. Score and parts. Published by Jazz Lines Publications (JL.JLP-8785).
Mary Lou Williams co-wrote this novelty song with her arranging and composition teacher Milton Orent. She arranged this for Dizzy Gillespie's band in 1949 and it was recorded with vocalist Joe Carroll. It was written to also feature Dizzy. His solo part is written in trumpet 5. We have also written in the melody into the trumpet 5 part so that it may be played as a trumpet feature throughout without a vocalist.

Deciphering The Message by The Jazz Messengers. Arranged by Hank Mobley. For jazz combo (2 horns plus rhythm section). Swing. Medium. Score and parts. Published by Jazz Lines Publications (JL.JLP-8951).
Here is Hank Mobley's arrangement exactly as recorded by The Jazz Messengers on the self-titled record released by Columbia. This is when the group was still a cooperative band. All later Messenger units became Art Blakey and the Jazz Messengers.

Confirmation by Supersax. Arranged by Med Flory. For jazz ensemble - octet [5 horns with rhythm section]. Swing. Advanced. Full score and set of parts. Published by Jazz Lines Publications (JL.JLP-8078).
Here is the Supersax version of 'Confirmation' as recorded on the 1988 'Stone Bird' record (it was also previously recorded in 1974 on 'Salt Peanuts'). Like the other Supersax arrangements that we publish this is not a transcription. The original, hand-written manuscript has been used to produce this arrangement. This has been published with the authorization of Med Flory.

Chasing The Bird by Supersax. Arranged by Med Flory. For jazz ensemble - dectet [7 horns with rhythm section]. Swing. Advanced. Full score and set of parts. Published by Jazz Lines Publications (JL.JLP-8076).
Here is Med Flory's arrangement of 'Chasin' the Bird' as recorded by Supersax on the 1977 record of the same name. Charlie Parker's original solo was transcribed in full by Med Flory and then harmonized to be played by a standard big band sax section (2 altos, 2 tenors and 1 baritone) with a trumpet, trombone, and rhythm section (piano, bass, and drums). This arrangement also features an open solo section ('rhythm changes').

Boplicity by Miles Davis. Arranged by Gil Evans. For jazz ensemble - nonet [6 horns with rhythm section]. Swing. Medium. Full score and set of parts. Published by Jazz Lines Publications (JL.JLP-8052).
Gil Evans set up shop in his small New York apartment above a Chinese laundry acting as an advisor to a group of jazz musicians. Evans was already well-known as an adventurous arranger who took inspiration from classical composers of the day. Miles Davis was trying to separate himself from the bebop club scene, of which he was a part in Charlie Parker's groups. In 1947 Davis and Evans organized a group of musicians into a working nonet and began to rehearse some new material. The musicians that were in the group included: Miles Davis (trumpet), Mike Zwerin (trombone), Bill Barber (tuba), Junior Collins (French horn), Gerry Mulligan (baritone saxophone), Lee Konitz (alto saxophone), John Lewis (piano), Al McKibbon (bass), and Max Roach (drums). The emphasis of this group was the arrangements and the re-definition of the current jazz scene. They invented what came to be known as the 'cool school.'.

Bonehead by Lennie Niehaus. For jazz ensemble. Standard jazz ensemble. Kendor Jazz Archive Series. Swing. Advanced. Score and Set of Parts. Published by Kendor Music Inc (KN.52112).
Fashioned after the playing of J.J. Johnson and Kai Winding, this moderate swing original casts the trombone section in a variety of starring roles -- solis, trading 'fours' with the rest of the band, and a short ad lib solo. Some sax soli work and a short trumpet solo give the 'bones a chance to rest their chops before the chart goes out strong. Duration 3:50.

Bloomdido by Supersax. Arranged by Med Flory. For jazz ensemble - nonet [6 horns with rhythm section]. Swing. Advanced. Full score and set of parts. Published by Jazz Lines Publications (JL.JLP-8073).
Here is Med Flory's arrangement of 'Bloomdido' as recorded by Supersax. Charlie Parker's original solo was transcribed in full by Med Flory and then harmonized to be played by a standard big band sax section (2 altos, 2 tenors and 1 baritone) with a trumpet and rhythm section (Piano, bass, and drums).

Ah-Leu Cha by Supersax. Arranged by Med Flory. For jazz ensemble - nonet [6 horns with rhythm section]. Swing. Advanced. Full score and set of parts. Published by Jazz Lines Publications (JL.JLP-8068).
Supersax was a Charlie Parker tribute band formed by Med Flory and Buddy Clark that debuted in 1972. Their music consisted of harmonized arrangements of Charlie Parkers music played by a saxophone section (2 altos, 2 tenors, and a baritone), rhythm section, and frequently a brass instrument (trombone or trumpet). Notable brass soloists that recorded with the group included Conte Candoli (trumpet), Frank Rosolino (trombone) and Carl Fontana (trombone).

A November Afternoon by The Jazztet. Arranged by Tom McIntosh. For jazz combo (3 horns plus rhythm section). Swing. Medium. Score and parts. Published by Jazz Lines Publications (JL.JLP-8954).
This great Tom McIntosh arrangement was written for The Jazztet and recorded on "The Jazztet at the Birdhouse" in May 1961. This arrangement features trumpet, tenor saxophone, and trombone with piano, bass, and drums.

3 Classic Duke Quintets (Brass Quintet). By The Canadian Brass. By Duke Ellington (1899-1974). Arranged by Luther Henderson. For Brass Quintet (Brass Quintet). Brass Ensemble. 101 pages. Published by Canadian Brass (HL.50489969).
ISBN 1423485173. 8.5x11 inches.
Three of Ellington's best in the same masterly arrangements recorded by The Canadian Brass: The Cottontail Caper • Sophisticated Lady • It Don't Mean a Thing.